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The Little Co-Ed 



A Vaudeville Sketch in One Act 



By 

HAMILTON COLEMAN 

and 

HARRY OSBORNE 



P?-oduced 07-iginally in vaudeville by Tuill and Boyd 
{igo6-y) and later by King and Walton {igo8-g) 



BOSTON 

WALTER H. BAKER & CO, 

1910 



The Little Co-Ed 



CHARACTERS 




Rae Winston, a college student. 
Mr. Wilson, a traveling salesman. 
Jack, a college student. 
Professor Snow, one of the faculty. 



To he played by same 
person. 




Copyright, 1909, by Wa:lter H. Baker & Co. 



©CI.D 17685 



The Little Co-Ed 



SCENE, — A college man' s i-ooni in a small Co- Ed college iow?z. 
Time, II P. M. A practical window at back left of c. , 7vith 
lower sash raised, shoiving back drop of sky and tree tops. 
Door R. u. E. A chiffonier at back to right of window. 
Table with study lamp, books and papers at w. Morris 
chair left of table. Sanitary couch or cot placed diagonally 
with head up stage at L., and high enough from floor for a 
person to crawl under. Below cot at L., a screen. 

{At rise stage is dark and moonlight is seen through open 
window. Clock in distant steeple is heard to strike 
eleven. The top of a ladder is seen to fall against win- 
dow sill. A moment later Mr. Wii, son's head appears 
at the ivindoiv and he turns and speaks in guarded un- 
dertone.') 

WiL. It's all right — the window's open. 

{He climbs into room and, leaning out, holds the ladder 
steady. He wears light overcoat and derby hat. ) 

Rae Winston {heard outside'). Don't let it slip, will you ? 
WiL. No, it's all right. 

(Rae climbs through the ivindoiv. She wears a light cape, 
and beneath an evening goiun.) 

Rae. Oh, I hope no one saw us. 

^VIL. They'd think we were burglars if they did. 

Rae. I'd offer you a chair if it wasn't so late. 

Wir,. Of course I've got to go, hut I'm jMizzled to know 
how you found your own window among so many. 

Rae. That was very simple. You see the girls' dormitories 
are in this block, and the men's in the next — my window is the 
third from the corner. 



4 THE LITTLE CO-ED 

WiL. Tliey all looked alike to me. Lucky we found that 
ladder, wasn't it? 

Rae. Yes, indeed ; if it was known that I was out of my 
room after ten o'clock, I would be expelled in disgrace, 

VViL. The faculty are going to see to it that you learn some- 
thing beside dancing, aren't they? 

Rae. Yes, they are terribly strict. I enjoyed the dance so 
much. 

VViL. I assure you the pleasure was all mine. 

Rae. So clever of you to bring me safely home. 

WiL. That was nothing. 1 must be going; which way is 
it to the hotel? 

Rae. Turn to your right at the first corner, and then 
straight ahead. 

WiL. Thanks, I'll find it. {Climbs out the windozej.) 
Good-night and good-bye. 

Rae. Good-bye, Mr. Wilson; be careful — don't fall. 

WiL. I won't. Good-night. 

(^He disappears, going down the ladder.') 

Rae (gleaning out ofwindoiv and speaking distinctly hut low). 
Oh, say, please take the ladder away. 
WiL. ijieard outside'). All right. 

{The ladder disappears.) 

Rae. I'll have to undress and go to bed in the dark, I guess. 
{She starts to walk around ; then stops.) Why, I must be all 
turned around — how funny the room looks. {Stumbles over 
chair.) My table! how did it get way over here? {Her 
hand encounters a pipe on the table.) What's this ? A pipe — 
a man's pipe? Some one's been in my room. This is not my 
table — what is my bed doing over there? {Becomes panic- 
stricken.) Why, it's not a bed at all, it's a couch. Oh ! 
(Stifles the scream with her two hands and looks around in 
terror.) I'm in the wrong — it's a man's room. {Runs to the 
windoiv and looks out.) I'm in the men's dormitory. Oh, 
what shall I do; how can I escape? The ladder — it's gone. 
I might jump, but if I broke any bones I'd be found in the 
morning beneath a man's window. Oh, this is terrible- — terri- 
ble ! If I only dared scream. I have it. I'll tie the bed- 
clothes together and slide to the ground. {Starts toward bed 
and stops sJiarply.) Oh, he's probably in the bed. The door. 
{Goes to door and tries it.) Locked. Now I wonder if he is 



THE LITTLE CO-ED 5 

in the bed? He may not have come home yet. He doesn't 
s-iore anyway. (^Picks up hook from table,) I'll throw a book 
and if he's there, he'll jump up and I'll— j^»»^iP o"t the windovv. 
(Business) Not a sound. I'm alone. Now for the bed- 
clothes (As she reaches the bed, the sound of a key in the 
door is heard, and she pauses dumb with terror.) He's com- 
ing. What shall I do ? 

{^Craivls quickly under cot with her feet toivard audience.) 

Enter Tack, at r. door. Evening clothes, high hat, long ulster 

or Inverness coat. He stumbles over chair and cusses 

softly under his breath. 

Tack Who the devil has been moving my furniture? 

(Li-hts the lamp on table, lights full up. Removes coat and 

.hat) That's the last time I'll be dragged off to a dance 1 m 

going to cut it all out-stay home and grind. (Takes ojf dress 

coat.) Girls make me tired, anyway. {Takes off vest.) All 

they think about is dancing and clothes. (Fills pipe and lights 

it as he ^oes on.) I wonder who that fellow was she had with 

her Well, if she likes him better than me she can have hmi. 

He was a cheap sport, anyway, didn't even have a dress suit 

Nowadays a fellow never knows whether he's engaged to a girl 

or not over night. (Disgusted.) I'm going to forget it and 

dig. 

(He slips his suspenders off his shoulders, and as Rae sees 
this she covers her face with her hafids, and gives an in- 
voluntary exclamation.) 

Rae. Oh ! , , • . . 

Jack. What's that ? ' (Looks all around, and then picks up 
book from table.) I thought I killed that cat. (Tiptoes stealth- 
ilv to window, takes careful aim and lets fly.) That cat has 
nine thousand lives. (Puts on bath robe.) Greek exam, to- 
morrow ; I'll have to get started before Professor Snow comes. 
(Lays down on cot with book and pipe, head high on pillows. 
Rae works over to the edge of cot tryitig to see his face ; he 
smokes and scoivls in perplexity.) What good does Greek do 
a fellow anyway ? (After putting his pipe in his mouth his hand 
drops over the edge of the cot onto Rae's upturned face. His 
Jaw drops; eyes open wide in cojisternation. He feels over 
her face with changing expressions on his face. Rae is too 
frightened to move or cry out.) He's asleep— it must be a 



6 THE LITTLE CO-ED 

burglar — smooth face for a burglar, though. I know it's a gen- 
tleman burglar, a Mr. Raffles — gets a close shave and electric 
massage before he starts to burgle. {Gets up cautiously.') I'll 
just get the drop on him before he wakes up, and if he gets 
fresh, I'll wing him. (^As he goes to dresser at v.. for his re- 
volver, Rae rolls back out of sight. ) I guess this will bring 
him to. 

(^Shies a book under the cot, keepifig the revolver leveled. 
Rae thrusts out one dainty afikle and screams.) 

Rae. Oh ! 

Jack. Ah, ha, it's a Mrs. Raffles. You may be a desperate 
criminal, Mrs. Raffles, but I'd be a worse one to disfigure such 
a beautiful ankle. Your ankles have saved your life. 

Rae. Please don't shoot. 

Jack. I won't unless you scream ; promise not to scream. * 

Rae {tearfully). I promise. 

Jack. Come out. 

Rae. Yes, sir. {Crawls out from under the cot.) 

Jack {in great surprise). Great heavens ! Rae Winston ! 
How — what ? 

Rae {startijig toward him). Oh, Jack — Jack, is it really 
you? {Stops suddenly and turns away.) Oh, I forgot that 
we had quarreled and didn't speak. 

Jack. Aw, what have I done? 

Rae. You know well enough. 

Jack. Because I said something about your ankles ? 

Rae {stamping her foot). No. 

{Audience sees her gratified smile.) 

Jack. What did we quarrel about ? 

Rae. You told me you were not going to the dance, and 
then dehberately -walked in with Fanny Nelson. 

Jack. The temptation of dancing with you made me change 
my mind, and when I called for you and found you had gone 
with some one else, I persuaded Miss Nelson to go. 

Rae. You have no right to change your mind. 

Jack {jealous). I noticed some one else did pretty well in 
my place. 

Rae. He's a beautiful dancer. 

Jack. Yes, but an awful poor guide. Think where he 
brought you. 



THE LITTLE CO-ED 



Rae (realizing her situation). Oh, Jack, I forgot, you 
must get me out of here. It must be nearly twelve o clock. 
I'll forgive everything, only see me safely home. 

Jack. Say, how the deuce did you get here ? 

Rae. Through the window. 



Jack. The window? 

Rae Yes you see your window is third from the corner, 
and on the third floor the same as mine. The buildings are tlie 
same The doors were closed, we found a ladder and— i 
guess I must have been confused. Before I discovered my 
mistake he had gone and taken the ladder away. 

Jack. In other words, you were marooned. 

Rae. Marooned? What's that? 

Jack Marooned is a term used by sailors when one ot 
their number is left to starve on a lonely desert island. 

Rae. Then I'm on a lonely desert island ? 

Jack. You are. 

Rae (7vith siveeping gesture toward audience). What s that 

out there ? 

Jack. That ? That's the ocean. 

Rae. Aren't there any schooners on the ocean ? 

Jack. No, but the man on the aisle just went out to get 

one. n • 

Rae (shading her eyes). Oh, there s a sea-gull. ^ 

Jack. Don't be gulled into thinking that a sea-gull; it s a 
feather on a woman's hat. 

Rae {pointing l.). There's a wreck out there. 

Jack. Yes, he's a total wreck. 

Rae. What caused it ? 

Jack. Wine, women and song. ^ 

Rae. It's lonely here. Am I the only living thing on the 

^^ Jack. No, indeed, the island is inhabited by a band of 
ferocious, bloodthirsty cannibals. 

Rae. Then who are you ? 

Jack. I am their chieftain. 

Rae. Is there no way of escape ? 

Jack. Just one. 

Rae. And that is ? , , i i 

Jack. Marry me and together we will leave these lonely 
shores and live forever in a land of sunshine and flowers. 

Rae. Oh, I could never marry a cannibal chief. 

Jack. Why not ? 



8 THE LITTLE CO-ED 

Rae. Because if I ever started to preach or lecture you, 
you might take me for a missionary — I'd hate to be roasted by 
my own husband. 

Jack {starting off r.). Very well, I'll leave you to your 
fate, and in the morning you'll be roasted by the whole college. 

Rae. Oh, Jack, let's not pretend any more. I'll be ex- 
pelled in disgrace. Please get me out of here before it is too 
late. 

Jack. I'll have to go out and reconnoiter and see if the 
halls are clear. {Throws off hath robe ami grabs his coat.) 

Rae. Hurry, won't you. Jack? 

Jack. I'll only be gone a minute, don't worry. 

\_Exit Jack, r. door. 

Rae. What a treasure Jack is ! I feel sure I can trust 
him. I don't know how he'll ever manage it, but I know he'll 
find some way to get me out of here without being seen. What 
a narrow escape I've had. Suppose it had been some other 
man's room instead of Jack's. I tremble to even think of it. 
{A knock is heard at r. door.) What was that? Sounded 
like some one knocking. {Knock is repeated.) It's some one 
to see Jack. Who can it be at this hour? Oh, why isn't he 
here? What shall I do? {Knocking again repeated; with 
sudden inspiration.) I know, I'll pretend that I'm Jack. 
{Speaks gruffly.) Well, who's there? 

Professor Snow {outside). I beg pardon, it's Mr. Snow. 

Rae {aside). Good gracious, Mr. Snow, the Greek Pro- 
fessor ; now I am in for it. {Aloud. ) Well, what do you want ? 

Snow. I beg pardon, I wish to see Jack. 

Rae. Jack isn't in. 

Snow. So I gather from the frigidity of my reception, but 
he told me to make myself at home until he arrived. 

Rae {in desperation). You — you can't come in. 

Snow. Pray tell me whom I have the pleasure of ad- 
dressing ? 

Rae. I — I am Jack's roommate. 

Snow. Then under the circumstances I shall be compelled 
to enter. 

Rae. Wait — wait just a second, won't you? 

{She hurriedly slips on Jack's hath rohe and putting on his 
hat, pushes her hair up tender.) 

Snow. I can wait just twenty seconds, but not one second 
longer. 



THE LITTLE CO-ED 9 

Rae. All right, come in. 

(Snow enters at r. door. About sixty years old, gray 
hair and side-burns, Prince Albert coat, carries umbrella 
under one arm, books under the other.) 

Snow {speaking effeminately). It's very anrjOying to wait. 
{Adjusts his glasses.) Well, well, dear me, 1 never saw you 
before ; who are you ? 

Rae. I'm Jack's roommate, I said. 

Snow, Roommate, I beg pardon, did you say roommate? 

Rae. Yes, I did. Do you want me to spell it for you? 

Snow. Dear me, of course not ; but Jack told me this 
morning that he didn't have a roommate and didn't want one. 

Rae. Well, he — he's changed his mind. Have you any 
objections ? 

Snow. Of course not. What did you say the name was? 

Rae. I didn't say, but if you want to know, why it's Tom. 

Snow. To be sure, of course, how stupid of me, and the 
surname ? 

. Rae. Say, are you working for the city directory ? Smith, 
Tom Smith. 

Snow. To be sure, of course ; and what part of this father- 
land of ours claims you as a member of its community ? 

Rae. Say, professor, can't you break that up in smaller 
pieces and dish it out to me again ? 

Snow. Most remarkable language, I might say almost be- 
wildering. Ah, what town do you hail from? 

Rae. I hail from Boston, 

Snow. To be sure, of course. Are you aware, my young 
friend, that it is most injurious for you to wear your hat in the 
house ? You are liable to contract a severe cold on venturing 
out-of-doors. 

Rae. It's 7ny hat, isn't it? 

Snow. Dear me, how should I know ? 

Rae {threateni7ig). Are you trying to insinuate that I 
stole it ? 

Snow. Dear me, I should hope not. 

Rae {coming closer). Hope not? Say, is this my hat or 
isn't it ? 

Snow {frightened). It is, that is I trust so. 

Rae. Well, you'd better trust so. 

Snow. Still on second thought it does look a little too large 
for you. 



to THE LITTLE CO-ED 

Rae. I advise you right now not to have any more second 
■thoughts. 

Snow {backing aivay). To be sure, of course, certainly. 

Rae. And something tells me that this room isn't large 
enough to hold us both. 

Snow. Yes, but I have to wait for Jack. 

Rae. I don't know when he'll be here. 

Snow {seating himself^. Oh, I'm used to waiting. 

Rae. You can't wait here. 

Snow. You mustn't mind me, you know ; any time you 
wish to you may remove your clothes and go to bed. 

Rae (sailing a sofa pilloiv at him'). Remove my clothes ! 
Go to bed? The very idea! How dare you? Leave the 
room. 

Snow, I beg pardon, but I prefer to remain. 

Rae {taking revolver and pointing it). Leave the room. 

Snow {weakening). To be sure — of course — upon second 
thought I will, 

Rae, And be quick about it. 

Snow {going). You are most impertinent, sir, most imper- 
tinent. 1 will report you to the faculty. 

Rae, There'll be a report right here if you don't hurry. 

Snow, To be sure, of course, \_Exits quickly, r, door. 

(Rae throivs off bath robe and hat ajid sinks irito chair 
exhausted. ) 

Rae. Oh, I'm glad I got rid of that old fusser without his 
suspecting anything. Supposing there should be a Tom Smith 
in tlie college ! I'd feel sorry for him, I wish Jack would 
hurry. If any one else should come I'd go all to pieces. 
{Enter Jack, hurriedly, r. door.) Oh, Jack, Professor Snow 
was just here. 

Jack. Yes, I just bumped into him — he was scared to 
death, 

Rae, What did he say? 

Jack, He asked me if I had a roommate. 

Rae, What did you tell him ? 

Jack, I said not yet, but soon, 

Rae. How are you going to get me out ? 

Jack. I can't get you through the halls — old Tompkins is 
on the door, and the only way to get rid of him is to chloro- 
form him. 



THE LITTLE CO-ED II 

Rae. What shall we do ? 

Jack. I have it — you put on a suit of my clothes and we'll 
walk out together. 

Rae. Oh, Jack, how can you suggest such a thing? 

Jack, it's the only way I know of; you can't stay here. 

Rae. No, of course not. 

Jack. No one will ever know of it but just we two. 

Rae. I might put on your coat and hat, but I could never 
put on — put on your — your {^Cofifused, and turns away!) 

Jack. What do you mean, trousers? (Rae nods assent.) 
Oh, yes, you can. You know you're going to wear the trousers 
some day, and you might as well begin now. 

Rae. Is there no other way ? 

Jack. It's the best way I can think of. 

Rae. I'll do it. Where's the suit? 

Jack (^getting suit from chair). Right here. I hope it 
fits. 

Rae. I hope it don't fit. Where shall I go? 

Jack (^pointing to screen, l.). Over there. 

Rae. Hovv^ about my clothes ? 

Jack. I'll put them in the suit case and take them along. 

(Jack gets suit case and empties it, and Rae nins behind 
screen.) 

Rae. All right, let's hurry. 

Jack. I'm all ready ; let her go. 

Rae {throwing a waist over the screen). Here's this. 

Jack {catching it). It's like desecration to put you in this 
old leather case. 

Rae {throwing over corset cover). Don't forget this. 

Jack. I wonder what that is ? 

Rae. Never mind what it is. {Throws over skirt.) Don't 
wrinkle this. 

Jack {rolling it up in a bundle and crushing it in the suit 
case). All right. 

Rae {throwing over petticoat). Is there room for this? 

Jack. Lots of room. I'd like to pack your trunk. 

Rae. That's all, but don't close it. 

Jack. Why not ? 

Rae. And don't look at me, will you ? 

Jack {going up and getting his coat arid hat). No, I won't. 
(Rae comes out from behind screen holding a pair of pink 
corsets behind her so Jack won't see them. She is dressed in 



it THE LITTLE CO-ED 

coa^ and trousers. She slips corsets in suit case and is closing 
it as Jack turns.') Did you forget something? 

Rae. No, I hid something. 

Jack. Are you ready? 

Rae. I'm ready for anything. 

Jack. I wish you were ready to be my roommate forever. 

Rae. Oh, Jack, don't be fooHsh. 

Jack. I'm not foolish, only serious. {Takes her hands.) 
Do you remember the ring we saw in the jeweler's window 
yesterday? 

Rae. Oh, there were so many. 

Jack. Yes, but there was one that I thought would just fit 
one of your dear fingers. Please let me get it and put it there. 

Rae. The stores are all closed now. 

Jack. But they'll be open to-morrow. Please let me do k, 
Rae, for I love you. 

Rae {yielding). I'll be proud to wear it. 

Jack {taking her in his arms). Let's seal the bargain 

{He kisses her.) 



QUICK CURTAIN 

{For second curtain, Jack is seen carrying the suit case arm 
in ami with Rae, going toward r. door.) 



COMEDIES. 



TRYING IT ON BELDOR 

A Comedy in T<wo Ads* 
By S, JENNIE SMITH, 

Seven male, four female characters. Costumes, modern and eccentrio; 
scenery, an easy interior, or may be dispensed witli altogether. Mr. Beldon, 
the father of a family of hypochondriacs, decides to turn the tables. He ac- 
cordingly shams illness, whereupon everyone insists on his talcing their favorite 
medicine, and privately sends for his or her own pet doctor, all of whom arrive 
at once. In the midst of it all an invitation arrives to a fishing party, which he 
has greatly looked forward to, so that Beldon's misery is complete. At this 
juncture Jack Phelps, a young doctor, who has been refused the hand of 
Beldon's daughter, because he belonged to that hated profession, turns up, and 
by an exhibition of sheer common sense wins father and daughter at the same 
time. A sharp rap at the medical profession, broadly but effectively done. 
Plays forty minutes. 

PRICE 15 CENTS 



The Revenge of Shari-Hot-Su 

A Japanese Comedy in Tho Ads* 
By C. B. BATCHELDER. 

Three male, four female characters. Costumes, Japanese ;. scenes, a Japa- 
nese interior and a Japanese exterior. If scenery cannot be had, the former 
may be easily extemporized out of screens, etc., and the latter out of potted 
plants and Japanese lanterns. This is a very sane, reasonable and character- 
istic comedy of Japanese manners, treating these interesting people as human 
beings, and not according to the usual custom, as figures from comic opera. 
Motives, manners and customs are seriously and honestly presented in con- 
nection with an interesting, sympathetic, dramatic and perfectly possible 
story, and surrounded with a convincing atmosphere of character. Two of the 
characters are Europeans, the rest Japanese. Shari-hot-su offers the first 
attempt known to us to set dow-n phonetically the Japanese dialect in English 
speech, and the result is most amusing and interesting as a study from life. 
Plays an hour and a half. 

PRICE ...... 15 CENTS. 



THE THREE GRACES. 

A Comedy in One Ad. 
By EDWARD GRANVILLE, 

Four male, two female characters. Costumes, modern and fashionable ; 
scenery, a handsome interior. An especially clever and well written piece of 
the "well-made" order, introducing a mo"^3t charming figure of a typical 
American girl against an ingenious and effective English background. Dora 
Cagny cannot help being charming in the relations provided for her, while the 
misunderstandings of her father, the millionaire pork-packer, in his encounter 
with the •' aristocracy," are bountiful in humorous effect. Plays forty minutes. 

FRIGE ...... 15 CENTS. 



NOVELTIES IN ENTERTAINMENT. 



The New WOMAN'S Reform Club. 

<A Humorous Entertainment in One cAct* 
By LAURA M. PARSONS, 

One male, sixteen female characters. Costumes, modern and prophetic ; 
scenery, of no importance. A lively burlesque of Women's Clubs, in Mrs. Par- 
sons' popular manner, introducing a funny Mock Initiation. Full of good 
points and opportunities for local bits, it falls naturally into tlie triumphant 
procession, headed by this author's " Old Maid's Convention." The tyrant man 
appears only in Mr. Bryan's popular ratio and is suitably humbled. Can be 
made very funny. 

CHARACTERS. 

Delilah Peabody Dare ,/or(hy President. 

Pauline Babcock Cauliflower Worthy Vice. 

Ophelia Smith Snyder Secretary. 

Adelaide Spooner Spider Treasurer. 

Polly Robbet Baker Conductress. 

Rebecca Hartshorn Shoemaker) lyrnr-ahnU 

LORINDA LIVEFOREVER MOSES ] marbuaib. 

ROXANA HUNTOON JACKSON Chiard. 

Mary Ann Brown Olingerlonger Assistant Guard. 

Barbara Hancock Yellowhammer Candidate. 

Susannah Doolittle Day spring. 
Arabella Underwood Hollyhock. 

Selina Green Fagot Stammerer. 

Hannah Oliver Hummer. 
JERUSHA Snipe Tinklepaugh. 
Biddy O'Flinnigan McGinty. 
Aristotle Diogenes Spookendyke. 

Price 25 cents. 



THE RAG DOLLS^ PARTY. 

c/ln Entertainment in One c/lct- 
By GRANVILLE F. STURGIS. 

Four male, ten female characters. Costumes, eccentric ; scenery, not im- 
portant. A very amusing and original variation of the "Country School" 
idea ; equally funny and popular. The characters are all rag-dolls and chil- 
dren, impersonated by adults with uproarious effect. Specialties can be 
introduced to any extent, and there is unlimited opportunity for amusing 
" business," over and above the abundant incident provided by the author. A 
decided novelty. Price, 35 centSi 



THE WORLD^S WORK, 

A Thamatic, Up-to-date Mlegory* 
By H. M. DICKINSON. 

Eight male characters. Costumes, modern and classical ; scenery, not 
required. A series of tableaux in action illustrating the progress of civiliza- 
tion. A very graceful and effective entertainment, especially suited for 
schools, and originally given at Smith Academy, Hatfield, Mass. 
Price, 15 cents. 



NE W PLA YS. 

Mrs. COMPTON'S MANAGER 

(A Comedy in Three cMds* 
By HARRY O. OSGOOD. 

Seven male, six female characters. Costumes modern; scenes two easy in- 
teriors. Parts can be doul)le(l so as to play with eleven people. A very grace- 
ful and lively piece, aiisweriiijj acoiirateiy that often repeated demand for 
" something as go:)d as Mr. Bob." Like that adniirable play for young peoi)le, 
it oifers a little love story without any " spooning," a little touch of melodrama 
without any " blood-curdling," lots of graceful incident, pretty gowns, liveli- 
ness, youth, and other things people like. Something doing all the time. Marie, 
the actress, Leonard, Ethel, and the Bishop of Hoboken are capital parts, 
and the others are not far behind. Plays two hours. 

PRICE J5 CENTS. 



CHARACTERS. 



Mrs. Helen Compton, a lokioiv. 
Leonard Barring, her nephew. 
Ethel Durand, a cousin to Mrs. 

Compton. 
Elphrox Vartray, a landscape 

gardener. 
James Heaton, an architect. 
Frederick Lowell, Bishop of 

Hoboken. 



Margaret Roswell, Beaton's 

fiancee. 
Jackson, butler at "Fairfhom." 
Marie Demarque, actress. 
Mrs. M c G I l l I o n, housekeeper at 

'■'■Fairthorn." 
Tompkins, butler. 
Williams, maid. 
Watkins, farmhand. 



SYNOPSIS. 



Act I. Scene I. — Mrs. Compton's summer residence. A house up in 
arms. The maid and the manager. Scene IL — The same, at midnight. The 
Bishop and the Burglar. 

Act 11. — Still the same. A " star " in the ascendant. Turning the tables. 
The stolen brooch. 

Act III. — Back in town again. A mystery solved. An extemporized 
wedding. Benefit of clergy. The real manager. 



OUR AUNT ROBERTINA, 

cA Comedietta, in One cAct* 
By MARY KYLE DALLAS. 

Four male, three female characters. Scene a plain interior ; costumes 
modern. As a result of a railroad accident a young English tourist finds him- 
self in possession of a trunk of clothing belonging to an elderly siiinster, and 
having donned them as a matter of necessity, is at once identified by anxious 
relatives with their Aunt Robertina. A very funny piece. Plays half an hour. 

PRICE J5 CENTS. 



A GAME OF COMEDY, 

A Thamdic Sketch in One Act, 
By SHERWIN LAWRENCE COOK. 

Two male, one female characters. Costumes modern ; scene, an easy 
interior. A particularly stronjT and effective little sketch, suitable for parlor 
or vaudeville, and strongly recommended for "benefit" purposes. Anatole, 
the leading part, is a part of very great opportunity, giving in its small compass 
ehance for the display of a very wide variety of style. Plays twenty minutes. 

PRICE ...... J5 CENTS* 



PLAYS FOR FEMALE CHARACTERS. 



THE SCARLET BONNET, 

A Comedy in Two Ads, 
By HELEN SHERMAN GRIFHTH. 

Six female characters. Costumes, modern; scenery, two easy interiors. 
Another of the popula,r series of plays of hoarding-school life by this author. 
Full of life and "go," but with an undercurrent of the quaint and searching 
humor that made " Cranford" so fascinating. The contrast between the quaint 
Miss Mercy and the energetic Miss Hope, rejuvenated by her scarlet bonnet, 
and the charming group of young girls by which they are surrounded, is most 
etfective. Like the ladies of Cranford, the INIisse's Mather are forced by 
reduced circumstances to go into business, and the humor of their proceedings 
lies half way between laughter and tears. The tone of this piece is particularly 
high, and its theme at once original and amusing. Plays nearly an hour. 

PRICE J5 CENTS. 



GONE ABROAD, 

A Comedy Sketch in One Ad* 
By EVELYN GRAY WHITING. 

Four female characters. Costumes, modern ; scene, an easy interior. A 
bright and amusing little skit, satirizing certain phases of social snobbery very 
much in the way of Mr. Clyde Fitch. Mrs, Nearly-Gonn has given out that she 
is going " abroad" for the summer, and in furtherance of that flattering fiction 
is spending the heated term behind closed shiitters in her own house, eating 
canned meat and going out for the air after dark. Her dearest friend, suspect- 
ing the ruse, climbs up the fire-escape and makes a friendly call. Full of life 
and human nature. Can be recommended. Plays twenty minutes or so. 

PRICE }5 CENTS, 



THE 

Beresford Benevolent Society. 

A Farcical Sketch in One Ad* 
By LIZZIE B, SCRIBNER. 

Seven female, one male characters. Modern costumes; no scenery re- 
quired, not even a curtain, which suits the piece particularly Avell for school 
purposes. The Bereftford Benevolent Society is dedicated to "holy charity," 
but like many such organizations, is not wholly charitable in its practice or in 
the example of its members. Contains a good deal of good-natured and 
amusing satire of this sort of thing, such as will apply witli point and effect to 
almost any locality. Full of harmless fun and suited for any age. Plays 
twenty minutes to half an hour. 

PRICE 15 CENTS. 



^rice, 50 Centjf €acl> 



THE MAfilSTRATF ^^^^^ ^^ Three Acts. Twelve males, four 
females. Costumes, modern ; scenery, all 
interior. Plays two hours and a half. 

THE NOTORIOUS MRS. EBBSMITF E,";n,'°,fl™"emtS 

Costumes, modern ; scenery, all interiors PI; ys a lull evening. 

TffF PROFI IfiATF J^laylnFourAc^;!? >^even males, five females. 
1UL( inUiMU/ilL* g(jengj.y^ three interiors, rather elaborate; 
costumes, modern. Plays a full evening. 

THE SCHOOLMISTRESS Farce m Three Acts. Nine males, seven 
females. Costumes, modern ; scenery, 
three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY ^^U"^ iTt.^^L.'^Sol 

tumes, modern ; scenery, three interiors. Plays a full evening. 

SWEET LAVENDER ^^'^^^y ^^ Three Acts. Seven males, four 
females. Scene, a single interior; costumes, 
modern. Plays a full evening. 

THF TIMFS CJomedy in Four Acts. Six males, seven females. 
Scene, a single interior; costumes, modern. Plays a 
full evening. 

THF WEAKER SEX ^^'^^^^^^y ^^ Three Acts. Eight males, eight 
females. Costumes, modern ; scenery, two 
Interiors. Plays a full evening. 

A WIFE WITHOUT A SMIIF C^^^dy in Three Acts. Five 
A nirC niiUUUl a ^ITllLrC ^ales, four females. Costumes, 
modern ; scene, a single interior. Plays a full evening. 



Sent prepaid on receipt of price by 

W^Xm i^* 'Bafeer & Compani? 

No. 5 Hamilton Place, Boston, Massachusetts 



B^ecent popular Paps 



THF AWAKFNlNfi ^^^y ^^ ^^^"^ ^^*^- ^y ^- ^- chambers. 

lUlw ATT/iJi.L<illilU j'our males, six females. Scenery, not diffi- 
cult, chiefly interiors ; costumes, modern. Plays a full evening. 
Price, 50 Cents. 

THE FRUITS OF ENLIGHTENMENT g,-!!-/oL°xof twX 

one males, eleven females. Scenery, cliaracteristiG interiors ; cos- 
tumes, modern. Plays a full evening. Recommended for reading 
clubs. Price, 25 Cents. 

HIS EXCELLENCY TBE GOVERNOR S"'&TJh'a^^^'"\?J 

males, three females. Costumes, modern ; scenery, one interior. 
Acting rights reserved. Time, a full evening. Price, 60 Cents. 

AW IDFAT HrNRA\n comedy in Four Acts. By Oscar Wilde. 
All lULtJAL^ U.VJUAl\U j^ij^Q males, six females. Costumes, mod- 
ern ; scenery, three interiors. Plays a full evening. Acting rights 
reserved. Sold for reading. Price, 50 Cents. 

THE IMPORTANCE OF BEING EARNEST ^ir i? H^Il 

Wilde. Five males, four females. Costumes, modern ; scenes, two 
interiors and an exterior. Plays a full evening. Acting rights re- 
served. Price, 50 Cents. 

LADY WINDERMERE'S FAN ^r^:.^.%l?Z'iSlsXril 

males. Costumes, modern ; scenery, three interiors. Plays a full 
evening. Acting rights reserved. Price, 50 Cents. 

NATHAN HAfF Play in Four Acts. By Clyde Fitch. Fifteen 
iliiillAii U.i\LtLt males, four females. Costumes of the eighteenth 
century in America. Scenery, four interiors and two exteriors. Act- 
ing rights reserved. Plays a full evening. Price, 50 Cents. 

THF ATHFP FFTTftW Comedy in Three Acts. ByM. B. HORNE. 
1111* UlULA ILrlwLrVfT gix males, four females. Scenery, two 
interiors ; costumes, modern. Professional stage rights reserved. 
Plays a full evening. Price, 50 Cents. 

THE TYRANNY OF TEARS ^;S^^^.^i,X^ gi 

males. Scenery, an interior and an exterior ; costumes, modern. 
Acting rights reserved. Plays a full evening. Price, 50 Cents. 

A WOMAN OF NO IMPORTANCE ^ot:SiV^JrEitn?,i.Sl 

seven females. Costumes, modern ; scenery, three interiors and an 
exterior. Plays a full evening. Stage rights reserved. Offered for 
reading only. Price, 50 Cents. 



Sent prepaid on receipt of price by 

Walttv ^. QBafeer & Company 

No. 5 Hamilton Place, Boston, Massachusetts 

• J BARKHit.U tt eo., «>NINTKn«, ■0«TON. U.S. A 



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